Gottfried Benn Research Papers - Academia.edu (original) (raw)

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- Literature, Antonin Artaud, European literature, siglo XX

Benn hat in seinen Essays und z.T. auch in seinen Gedichten immer wieder betont, dass nicht das Inhaltliche, sondern die Form das Eigentliche an einem Gedicht ist. Er selbst hat seine denkerischen Bemühungen nur als ›eine Art Materialbeschaffung für die Lyrik, die immer mein eigentliches literarisches Anliegen war‹ eingestuft. Im Gegensatz zu vielen Forschungsbeiträgen zu Benns Werk wird hier Benn in erster Linie als Lyriker wahrgenommen und bewusst die Biografie und die Essays nur insoweit herangezogen, als sie zum Verständnis der Lyrik beitragen, denn jenseits der textimmanenten Interpretation muss allerdings doch der geschichtliche, biografische und gedankliche Kontext berücksichtigt werden. Lyrik vermag letztlich nur sich selbst zu offenbaren, die Dinge mystisch bannen durch das Wort. Sie ist Ausdruck einer zur Lust der Phantasie erschaffenen Welt. Die Sprache der Wissenschaft, auch der Literaturwissenschaft ist nach Benn unzulänglich und begrenzt, und unfähig, das Geheimnis und den Zauber der Lyrik zu erschließen. Ein Sprechen über Lyrik kann keinen Aufschluss über das geben, was Lyrik in ihrem Wesen ist. Wenn hier dennoch Benns Gedichte interpretiert werden, dann mit der Erkenntnis, dass die Rezeption des Eigentlichen in der Lyrik nur über ästhetische und assoziative Kanäle geht., dem deutschen Roman seit 2000 und zu südafrikanischer Literatur. Vielfach ausgezeichneter südafrikanischer Lyriker.

- by Anette Horn
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- Modernist Literature (Literary Modernism), Gottfried Benn

In this thesis I argue that Richard Strauss’s 1918 song-set Drei Lieder Der Ophelia is best interpreted as a work of German expressionism. I argue that such a reading must take place outside the standard definition of “expressionism” upheld in musicology, since that definition only describes a narrow range of stylistic techniques. To establish a model of expressionism that can be satisfied by the Ophelia Lieder, I outline four basic criteria of Expressionist art that I have developed through an interdisciplinary survey of the movement. When this model for expressionism is established, I use it to compare the Ophelia Lieder to two Expressionist poems that also use Ophelia imagery: “Schone Jugend” by Gottfried Benn and “Ophelia” by Georg Heym. This comparison provides the basis for a close musical analysis of the song-set as an Expressionist work.

- by C.M. Griffiths
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- Music, Musicology, English Literature, Romanticism

Das Gehirn als Schauplatz eines (post)kolonialen Amoklaufs: Benns Gedicht Ostafrika In diesem Vortrag soll Benns Gedicht Ostafrika als eine (post)koloniale Phantasie gelesen werden, in der kolonialistische Stereotype Amok laufen und ad absurdum geführt werden. Es soll nicht darum gehen, die Wahrheit oder Illusion von Benns Ideen im Jahre 1933 zu beweisen, sondern gegen solche inhaltlichen Überlegungen, die allerdings ihre Begrenzung und Unzulänglichkeit in der Politik und Ethik haben, den ›Satzbau‹ zum zentralen Anliegen des Dichters zu erheben. Nicht was oder worüber einer dichtet, sondern wie – in welcher Sprache und in welcher Anordnung der Wörter und in welcher sprachlichen Struktur er das tut, – wird zur eigentlichen Aufgabe des Dichters: " Was aber neu ist, ist die Frage nach dem Satzbau / und die ist dringend ". Satzbau, Rhythmus und Klang machen das Gedicht aus, und nur wenn der prosaische Inhalt so verändert wird, wird er zum Gedicht. In Provoziertes Leben heißt es dann: " Im Rhythmus lag letzten Endes das Weltgeschehen ". Ich möchte anhand von einer stilistischen Analyse des Gedichts Ostafrika Raddatz´These untersuchen, inwiefern " der ästhetische Kodex des Nicht-Bedeutens [...] dem moralischen Gebot des Nicht-Benennens [entsprach] " , der angesichts der Schoa und des (Post)Kolonialismus eine neue Relevanz erhält. The brain as the stage of a (post)colonial rampage: Benn´s poem East-Africa In this article, Benn´s poem East-Africa will be read as a (post)colonial rampage in which colonialist stereotypes run wild and are carried ad absurdum. The question is not so much the truth or illusion of Benn´s ideas in the year of 1933, but rather how the syntax is the poet´s central concern as against any ideas related to the content, which necessarily are limited and inadequate in relation to politics and ethics. Not what or about what someone writes poetry, but how – in which language and in which order of words and in which linguistic structure – he does that, becomes the actual task of the poet: " What, however, is new, is the question about the syntax and that is urgent ". Syntax, rhythm and sound define the poem, and only if the prosaic content is changed to such an extent, it becomes a poem. In Provoked Life, Benn states: " In the end the world-events exists in the rhythm ". I would like to examine in a stylistic analysis of the poem East-Africa to what extent Raddatzárgument that " the aesthetic codex of not-meaning […] coincides with the moral imperative not to name " , which in the light of the Shoah and of (post)colonialism acquires a renewed relevance.

- by Anette Horn
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- Jane Bennett, Gottfried Benn
- by Mattia Iunco
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- Comparative Literature, German Literature, Paul Celan, Yoko Tawada
- by Fedor Pellmann
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- Mythos, Semiotik, Semiotika Roland Barthes, Germanistik
- by Adrienn Pataky
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- Poetry, Sonnets, Modern Poetry, Wittgenstein

The article seeks to disclose the phenomenon of Conservative Revolution as an attempt at the fullest projection of Nietzscheanism in philosophical and social fields, in particular, resting on the work of its face and recognized Nietzschean Ernst Jünger who earned it the fame of the "supermodern." In turn, results of polemic by Martin Heidegger, another key thinker of this current, with omnipresent in Jünger's work Friedrich Nietzsche's motif of the transvaluation of all values have become not only the deepest philosophical reconstruction, criticism and "upgrading" of Nietzscheanism but also the groundbreaking milestone of Nietzsche-studies and, as of now, the pinnacle of discussions on the prospects for overcoming nihilism and a new Western metaphysics.

- by Olena Semenyaka
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- Thomas Mann, Friedrich Nietzsche, Martin Heidegger, Ernst Jünger
- by Raluca Radulescu
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- Modern Poetry, InterCultural Studies, Paul Celan, Gottfried Benn

Ezen kötet központi célkitűzése a nem-esszencialista antropológiai hagyomány esztétikai kontextusban történő újragondolása. A vizsgálódás során Helmuth Plessner munkásságát tekintem kiindulópontnak, akinek a múlt század első felében kibontakozó fi lozófi ai antropológiai életműve a német tudományos közegben zajló kortárs antropológiai kutatások – mindenekelőtt Wolfgang Iser, Hans Belting, K. Ludwig Pfeiffer, Christoph Wulf és Dietmar Kamper munkáira gondolok – kikerülhetetlen referenciapontja. Plessnertől eredeztethető az a módszertani felfogás, miszerint a filozófiai antropológia biológiai és kulturális dimenziók interdiszciplináris konvergálásaként értelmezhető. Az ilyen önreflexív antropológia elhatárolódik az ember bármilyen rögzített lényegének, esszenciájának tételezésétől, s az ember ideológiai megalapozhatatlansága mellett foglal állást. Plessner az ember antropológiai rögzítetlenségét az excentrikus pozicionalitás fogalmi struktúrájával mint nyitott lényegfogalommal tartja megközelíthetőnek.

The FM and ToC of this volume are freely accessible. Two chapters are OpenAccess (#2 and #13); see below. Chapter 2 includes summaries of all further chapters. The volume is available from the publisher:... more

- by DS Mayfield
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- Rhetoric, Aristotle, Shakespeare, Seneca

As German-language literature turned in the mid-nineteenth century to the depiction of the profane, sensual world, a corresponding anxiety emerged about the terms of that depiction—with consequences not only for realist poetics but also for the conception of the material world itself. At the Limit of the Obscene examines the roots and repercussions of this anxiety in German realist and postrealist literature. Through analyses of works by Adalbert Stifter, Gustav Freytag, Theodor Fontane, Arno Holz, Gottfried Benn, and Franz Kafka, Erica Weitzman shows how German realism’s conflicted representations of the material world lead to an idea of the obscene as an excess of sensual appearance beyond human meaning: the obverse of the anthropocentric worldview that German realism both propagates and pushes to its crisis. At the Limit of the Obscene thus brings to light the troubled and troubling ontology underlying German realism, at the same time demonstrating how its works continue to shape our ideas about representability, alterity, and the relationship of human beings to the non-human well into the present day.

- by Erica Weitzman
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- German Studies, German Literature, Aesthetics, Mimesis

В центре внимания статьи-коллизия непростых взаимоотношений Готфрида Бенна и Мартина Хайдеггера. Великий поэт и выдающийся философ предстают здесь не только как очевидцы и выразители своей эпохи, но как теоретики и практики поэтического слова. Странность их связи становится понятной в контексте сопоставления их взглядов на природу поэзии. Предложенный Хайдеггером революционный подход, в котором искусство оказывается местом свершения истины, не находит у Бенна поддержки. Выдвигая в докладе «Проблемы лирики» свою версию предназначения поэзии, Бенн невольно выступает разоблачителем онтологических спекуляций Хайдеггера. Позиция Бенна, укорененная в его профессиональной работе с логосом, разительно отличается от хайдеггеровской. Свою демиургическую функцию, по мнению Бенна, слово не заимствует у бытия, сохраняя за собой абсолютный автономный статус. Эта автономия и возвышает поэзию до уровня священнодействия. Фрайбургский же мыслитель, хотя и нарекает язык «домом человеческого бытия», превращает пространство речи в «ничейный» топос, где слово призвано высветить вещь в ее истине и тем самым дать возможность проявиться неявленному-бытию.

- by Oxana Koval and +1
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- Poetry, Philosophy of Literature, Martin Heidegger, Modern Philosophy
- by Pietro Taravacci and +1
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- Reception Studies, Reception Theory, Luis de Góngora, Literary translation

Il secondo che ha dato gioia al poeta, che gli ha restituito il ricordo di un tempo vissuto in passato, deve cedere il passo alla disperazione; presto il quotidiano e le sue angosce tornano a bussare alla porta. A Baudelaire non mancarono certo le angosce. E tuttavia egli afferma che quel secondo era "l'unico" in cui gli fosse concesso di recare un lieto annuncio, "l'annuncio che può appagare ciascuno, non senza un inesplicabile timore". Questo secondo merita un'attenzione particolare in un'epoca in cui si direbbe che screditare il povero e privarlo della Lieta Novella costituisca l'adempimento di un compito spirituale. Ci si interroga invece su quel secondo, capace di elevare il poeta dalla sua spelonca sospetta, al di sopra di qualsiasi esperienza. Tale secondo fa parte del tempo solo per il fatto che viene "vissuto", e che, come un lampo, interrompe il crepuscolo. Esso reca con sé un ricordo o una speranza, forse tanto uno come l'altra. È ancora stretto all'origine, laddove tutto è ancora possibile, dove il cammino non è ancora incominciato; il tempo, come un arco teso, non ha ancora alcuna direzione, nessuna qualità. È un vuoto, che ogni sorta di decorso, contemporaneamente, attraversa: dal volgersi della lancetta dei secondi, alla clessidra, in cui scorre la sabbia del Sahara. Anche il singolo, che affonda in questo istante senza tempo, in quest'ora destinale, prende coscienza di come il suo stesso percorso abbia qui inizio e fine. Ciascuno ha il proprio calendario e la propria morte.

- by Paolo Melandri
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- Philosophical Anthropology, Thomas Mann, Phenomenology, Friedrich Nietzsche
- by Andreas Gailus
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- German Literature, Aesthetics, Kant, German Idealism

Gottfried Benn (1886-1956) is one of the most controversial and representative twentieth century German writers. Because of the biased reception he had in Europe, it took a very long time for his work to be esteemed in Spain. However, against the prevailing atmosphere of the Franco regime, in October 1957 (just a year after Benn's death) the Catalan writer Gabriel Ferrater (1922-1972) translated into Spanish 12 of the poems of Benn's expressionist poetry work Morgue (1912). It is the aim of this paper to assess Ferrater as a translator, placing emphasis on the relevance of the fact that, in this case, he exceptionally translated poetry (when as a general rule he chose both fictional and nonfictional works in prose) —significantly when not even a year had passed since his own poems had first been published. The starting point will be a comparative study and assessment of Ferrater's two translations of the poem "Negerbraut" ("La novia del negro"), in verse (1957) and in prose (1964) respectively, which will permit us to explore the writer-translator issue, among other questions of relevance within the field of translation studies.

- by Caterina Calafat
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- German Literature, Catalan Studies, Literary translation, Gottfried Benn

Soll man die Briefe eines Dichters lesen oder konzentriert man sich besser auf seine Lyrik? Die Frage ist nicht so leicht zu beantworten, wie es scheint. Denn wenn es auch die Lyrik ist, die im allgemeinen das Hauptinteresse an einem Dichter rechtfertigt, so kann doch das Briefwerk von größtem Interes-se sein. Und dies ist bei Gottfried Benn (1886-1956) zweifellos der Fall. 1 Davon legt nicht nur sein umfangreicher Briefwechsel mit Friedrich Oelze Zeugnis ab, der vom Wallstein-Verlag bereits in einer neuen Ausgabe in vier Bänden vorgelegt wurde. 2 Es kommt nun auch ein Auswahlband mit Briefen hinzu, von denen 179 bisher nie gedruckt wurden und 114 nur an verstreu-ten Druckorten. Das bedeutet, daß diese Edition für jeden Benn-Liebhaber ein Muß ist und auch die germanistischen Seminarbibliotheken ein Exem

- by Till Kinzel
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- Letters, Gottfried Benn
- by Alexandra Rassidakis
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- Gottfried Benn
- by Paolo Melandri
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- Classical Archaeology, Education, Thomas Mann, History of Classical Scholarship
- by Alfredo Galdi
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- German Literature, German History, Thomas Mann, 20th Century German Literature
- by Till Kinzel
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- Gottfried Benn

Fiori d'estate ancora sì ricchi odorate: venti delle pianure nell'acre fragranza del grano. Tu mi conduci lungo le prode bruciate. Ecco, e m'è fatto nei parchi superbi il sesamo estrano. Dalla dimenticanza incanti tu i sogni: il fanciullo che sulla casta zolla riposa del campo di biade, nell'afa grave accanto allo stuolo che miete brullo con la falce lucente ed il sacro boccale. Dondolavano sonnolente nel ronzo del mezzogiorno le vespe e a lui piovevano sopra la fronte in fiamme, traverso l'ombra rara che steli tessevano intorno, petali di papavero: gocce larghe di sangue. Nulla che mai fu mio può togliermi il volo dell'ore. Languendo m'abbandono in questa pianura che langue. Mormora la bocca esangue: Ah d'ogni fiore com'è questo cuore stanco, de' bei fiori stanco.

- by Paolo Melandri
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- Translation Studies, Friedrich Nietzsche, Martin Heidegger, Ernst Jünger

If Jens Peter Jacobsen is still read today, it is mostly as a Scandinavian classic and in the Nordic countries. And yet, there was a time when he was considered a world classic, on a par with Ibsen and Strindberg. In Germany especially, his fame knew no bounds. Stefan George translated a few of Jacobsen's poems in the early nineties. Thomas Mann􂀙s Tonia Kr6ger obviously owes much to Jacobsen's Niels Lyhne, down to its Danish setting. Rainer Maria Rilke worshipped Jacobsen: at the beginning of the century, he carried his complete works with him along with the Bible wherever he went, and could mention Jacobsen in the same breath as Shakespeare and Dante. Rilke learnt Danish so as to read Jacobsen, and in view of a book he long intended to write on his favourite author, though he eventually abandoned the project. In his book on the painters of Worpswede, Rilke reported that they spent their evenings reading to each other passages from Moyens and Niels Lyhne. One of them, Heinrich Vogeler, illustrated German editions of Jacobsen's works. Many other Jugendstil artists loved Jacobsen, most notably Max Klinger and his circle. Even people who would corne to be associated with Expressionism were influenced by Jacobsen. Arnold Schönberg is a case in point, whose Gurre-Lieder remain Jacobsen's best claim to fame. In his eulogy of his fellow Expressionist poet and close friend Klabund, Gottfried Benn recalls how he had given him the nick􂀔name Jens Peter, on account of his physical resemblance to their common idol. Benn even wrote a Dialogue (Gespräch) on Jacobsen. Anticipating Albert Camus, J.P.Jacobsen's great topic was modern man􂀙s distance from the world, that can be bridged only by the tragic acceptance of death and of life by the same token in the absence of God. An author who has so brilliantly anticipated many insights of some of the boldest thinkers of our century, as well as his own, does not deserve the relative oblivion into which he has fallen. Largely on account of his ornate, 􏬂orid, heavily sensual style, the author of Niels Lyhne, which Stefan Zweig called "the Werther of our generation", was dismissed by later generations for whom beauty was no longer an end in itself, or for that matter a valid concern. However, we need not look upon Jacobsen so censoriously; a century after his death, it may be time to see him in a broader historical perspective, as an important and unfairly neglected harbinger of our modern consciousness.

- by Christian Roy
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- Intellectual History, Thomas Mann, Literary Symbolism, Danish Literature
- by Vladimiro Giacché
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- Languages and Linguistics, Truth, Martin Heidegger, Irrationalism
- by Mattia Di Taranto
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- German Literature, Translation Studies, Paul Celan, Johann Peter Hebel

W piątym zeszycie Schulz/Forum Marek Wilczyński pisze o Schulzu w kontekście prozy galicyjskiej przed i po wojnie, Marcin Całbecki naświetla antropologiczne wątki „Sklepów cynamonowych”, Rolf Fieguth przedstawia swoje notatki z Schulzowskiej intertekstualności, Serge Fauchereau prezentuje manekiny w roli maszyn metafizycznych, Ałła Tatarenko zgłębia literackie poglądy Schulza, Damir Šodan śledzi powinowactwa Schulza z Gottfriedem Bennem, Stanisław Rosiek rozważa praktyczne (i ontologiczne) powody niedostępności „Xięgi bałwochwalczej”, Piotr Sitkiewicz natrafia na Schulzu w Poznaniu, a ponadto Joanna Sass o niemieckich przekładach Schulza oraz recenzje dwóch powieści na motywach Schulza: Tymoteusz Skiba o „Mesjaszu ze Sztokholmu” Cynthii Ozick i Filip Szałasek o „Portrecie psubrata” Ewarda Mielniczka.

- by Schulz/Forum online
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- Galician Studies, Bruno Schulz, Galician Literature, Literatura

Der große Lyrikkenner Harald Hartung legte mit dieser Aufsatzsammlung einen weiteren Beweis seiner lebenslangen Beschäftigung mit der internationalen Lyrik vor. Hier erscheinen u.a. G. Benn, P. Celan, G. Ungaretti, J. Brodsky, D. Jones,... more

- by Dr. Georg Doerr
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- Derek Walcott, Modern Poetry, Joseph Brodsky, Paul Celan
- by Paolo Melandri
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- Thomas Mann, Heinrich von Kleist, Friedrich Nietzsche, Franz Kafka

Im Zeitalter der Handbücher, die den Zweck der Bündelung bisheriger sowie der Anregung weiterer Forschung verfolgen, 1 muß es fraglos auch ein Handbuch für einen Dichter vom Range Gottfried Benns geben. Nach einer längeren Phase der Vernachlässigung, die auch mit den ideologischen Di-mensionen von Benn selbst (Bejahung des Dritten Reiches in seiner An-fangszeit 2) sowie der späteren Literaturwissenschaft zu tun hatten, gibt es seit einiger Zeit eine stärkere Beschäftigung mit dem Dichter. Der Zeitpunkt scheint nun gekommen, " mit einem gewissen Abstand zu den skeptisch-ablehnenden, ideologisch verbrämten Kritikern einerseits und den sympa-thisierend-apologetischen Bewunderern andererseits " den Weg zu einer Auseinandersetzung mit Benn und zumal mit seiner Lyrik zu finden (S. X). Aber auch Benns Prosatexte sowie autobiographisches Schreiben sind im Fokus der Forschung. 3 Die Vivisektion Benns mit den Mitteln der Literatur

- by Till Kinzel
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- 20th Century German Literature, Gottfried Benn
- by Jacob Phillips
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- German Expressionism, Paul Tillich, Literature and Theology, Karl Barth
- by Paolo Melandri
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- Thomas Mann, Friedrich Nietzsche, Johann Wolfgang von Goethe, Bertolt Brecht
- by Andreas Gailus
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- German Literature, Aesthetics, German Idealism, Heinrich von Kleist

Il distacco dalla Storia in cui Gottfried Benn coltivò il suo pensiero, e la conseguente scelta di un intellettualismo che proprio per la sua ferocia ci appare oggi paradossalmente mili-tante, un sovrano atto di resistenza, possono dirci ancora molto della realtà del mondo storico e della condizione umana, anche di quella odierna. Proporre oggi un volume sulla ricezione italiana di un poeta tanto deliberatamente inattuale come Benn significa – questo l'intento dei due curatori – porsi in una prospettiva non meno unzeitgemäß, grazie alla quale ricostruire, dallo scorso secolo fino a oggi, non già soltanto la ricezione di una parola poetica spietata e l'avvicendarsi di scontri intellettuali, utopie politiche, ispirazioni letterarie, che essa ha sollecitato e continua a sollecitare nella cultura italiana, dove oggi la sua vitalità poietica pare perfino maggiore di quanto non sia in Germania. I saggi raccolti in questo volume intendono anche prendere distanza da alcuni equivoci che hanno a lungo gravato il giudizio della critica italiana: sia da una visione obbediente a semplificanti contrapposizioni ideologiche sia da un'interpretazione fondata su appiatti-menti altrettanto banali, ovvero attualizzazioni non meno semplificanti. Un discorso critico sull'intelligenza poetica di questa parola e sulla sua presenza in diverse fasi della recente storia culturale, qui ricostruite per la prima volta in una sorta di ritratto italiano dell'opera di Benn, si sostanzia, in termini più generali, soprattutto come discorso sul rapporto tra la cultura tedesca e la cultura italiana, nonché come spunto di riflessione sul ruolo e sul significato della poesia in una impoetica contemporaneità.

- by Sotera Fornaro
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- Cristina Campo, Gottfried Benn
- by Henning Wrage
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- Television Studies, Gottfried Benn
- by Till Kinzel
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- 20th Century German Literature, Gottfried Benn, Letter-writing, Briefwechsel
- by Nicolas Beaupré
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- First World War, Nazi Germany, Germany, Deutsche Literature - Gottfried Benn

Le gioie promesse dai profeti sono tali da lasciarsi afferrare. Nel cielo dei Cristiani, al contrario, non ci sono matrimoni né nascite. Possiamo supporre che in paradiso non si possa neppure parlare. Ci si intenderà senza bisogno di parole, non servirà neppure la musica. È vero che sta scritto ciò che disse il Signore e ciò che i progenitori gli risposero, ma si tratta delle traduzioni che se ne danno da questa parte del muro. Lo stesso dicasi dei colloqui che Abramo tenne, davanti a Sodoma, con il Dio venerato dai pastori; colloqui nel corso dei quali egli litiga con lui e addirittura lo rimprovera. Trasposizioni di questo tipo si possono osservare già nella vita di tutti i giorni e nei sogni. Il lettore traduce in linguaggio parlato il testo scritto e lo recita mentalmente; i bambini e le persone semplici muovono le labbra nella lettura. Le cose si fanno più complesse quando si legge una lingua straniera, o una scritta in cui compaiano dei numeri. Leggiamo anche i segni di interpunzione senza prestarvi attenzione. È ancora più strano parlare e ascoltare nei sogni: la partecipazione fisica si indebolisce, mentre si libera uno spazio più ampio per la fantasia. (Al posto di "mentre" si potrebbe qui scrivere "perché"). Quando il dormiente incomincia a parlare, è segno che sta per svegliarsi. Le grandi composizioni vengono percepite da un orecchio interiore. Vengono da un altro mondo.

- by Paolo Melandri
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- Mythology, Thomas Mann, Ernst Jünger, Ancient myth and religion